DELUGE GRANDER

Other than that "Lunarians" is a different release to "Oceanarium", as the latter is a fully instrumental progressive rock album, while "Lunarians" features vocals, although some parts of the music are still instrumental. "Lunarians" have more in common with Deluge Grander's third full-length studio album "Heliotians" (released in February 2014). The music style and the fact that the music features vocals connect the two albums, although they are certainly also different in some ways. "Lunarians" for example only features male vocals, while "Heliotians" featured both male- and female vocals. In addition to guitars, bass, drums, and vintage keyboards (and of course vocals), the music also features violin, cello, flute, clarinet, oboe, trumpet, and trombone, which brings a nice organic and occasionally almost classical orchestral touch to the material. The overall music style is 70s influenced symphonic progressive rock and artists like early-King Crimson, Genesis, and Camel are all valid references.

Deluge Grander don't quite reach the heights of their influences, but there are still a lot of quality music on "Lunarians", which should please fans of 70s progressive rock. The sound production is pretty well sounding, the musicianship is on a high level on all posts (the vocals could maybe have been a bit more interesting, but they aren't bad). So upon conclusion Deluge Grander bring another good quality progressive rock album to the table. The type of progressive rock album which you can listen to again and again and find new interesting intriguing details and beautiful moments. A 3.5 star (70%) rating is deserved.

If anyone thought that "Oceanarium" would be anything like "Heliotians" because both albums belong in a planned seven album concept idea, they would be wrong (at least partially). Deluge Grander certainly is an interesting band...they started out releasing two progressive rock/jazz-rock/fusion hybrid albums, and then the symphonic progressive rock album which is "Heliotians" which features prominent use of male- and female vocals. And now this. "Oceanarium" is still a symphonic progressive rock album, but it´s fully instrumental, which sets it completely apart from "Heliotians". It doesn´t sound like the first two albums either though, as the jazz-rock/fusion influences aren´t that strong here and in that respect the music is more reminiscent of the instrumental part of the music featured on "Heliotians".

Featuring 8 tracks and a total playing time of 79:56 minutes, "Oceanarium" is a long release, but the long playing time is warranted, because there´s something new happening all the time. Not in an incoherrent or busy fashion, but the tracks develop naturally and beautiful symphonic parts are followed by more powerful and technical parts. So there is a good balance between the progressive elements of the band´s music and the atmosperic and emotional ditto. Those who enjoy 70s instrumental progressive rock and artists like Camel and other calm, melodic, and atmospheric progressive artists of their ilk, should be able to appreciate this.

"Oceanarium" features a well sounding production job, which could almost have been a 70s progressive rock production. I stil think the production choice to place the drums fairly low in the mix is an odd one, but since Deluge Grander have now done it on every release up until and including this one, I´m sure it´s a conscious choice, that I just don´t agree with. Other than that "Oceanarium" is a high quality symphonic instrumental progressive rock release and a 3.5 star (70%) rating is deserved.

Stylistically "Heliotians" is a very different release to the first two Deluge Grander releases, as it´s a much more pure progressive rock recording, compared to the previous more hybrid progressive rock/jazz-rock/fusion styled albums. Both male and female vocals are featured prominently on "Heliotians" and in many ways it sounds like an almost completely different band playing here than on "August in the Urals" (2006) and on "The Form Of The Good". This is 70s influenced progressive rock. Symphonic and featuring the use of vintage keyboards/organs and influences from classical music and folk, and it´s only occasionally jazz-rock/fusion tinged.

If the preceding albums were all over the place and featured a both busy, challenging, and eclectic playing style and a ditto eclectic songwriting approach, "Heliotians" is a much more consistent and coherrent release. There´s a clear structure and progression of the tracks and they don´t jump from one songwriting idea to the next with no apparent connection. Instead "Heliotians" appear more mature and less wild than the previous releases. It´s a beautiful, epic, and melodic progressive rock album, and all involved are high level musicians. Early King Crimson mixed with some Renaissance could be a description of the band´s music, but Deluge Grander aren´t a clone band. They can certainly hold their own, both in terms of musicianship and songwriting.

Therefore it´s a bit of a shame that "Heliotians" sometimes feels a bit underproduced. Especially the drums have a tendency to drown in the soundscape, and a bit more power and clarity wouldn´t have hurt. On the other side this sounds a lot like something out of the 70s progressive rock scene, which also featured many releases with relatively questionable sound production values, so it may not be all bad to the ears of a traditional progressive rock listener. A 3.5 star (70%) rating is deserved.

Stylistically the material on "The Form Of The Good" continues the hybrid progressive rock and jazz-rock/fusion style of the last album. It´s still highly eclectic music featuring elements from many different genres and playing styles, and it´s all delivered in a busy and dynamic fashion with avant-garde parts sometimes entering the picture for an even more diverse listen. So don´t be fooled by the tranquil and atmospheric nature of album opener "Before The Common Era", as it´s easily the most accessible track on the whole album. The hyper energetic "The Tree Factory" follows and it´s quite the enjoyable song featuring both country and blues rock elements along side the progressive rock and jazz-rock/fusion elements. The remaining three tracks are just as eclectic and adventurous. In addition to drums, bass, guitar, and various keyboards, the music also features flute, saxophone, violin/cello, clarinet, oboe, and trumpet/trombone.

The music is predominantly instrumental but features a few vocal parts. Vocals are however not at all as prominently featured here as they were on "August in the Urals". Although the latter is also a mostly instrumental album, especially two of the tracks feature vocals, which are an important part of those compositions. That´s not really the case on "The Form Of The Good". Although the drums are sometimes drowned a bit in the busy soundscape, "The Form Of The Good" is overall a well produced and well sounding release. There´s a nice organic tone to the instruments and upon conclusion "The Form Of The Good" is another good quality release from Deluge Grander. A 3.5 star (70%) rating is deserved.

While Deluge Grander is in some ways a continuation of the progressive rock/jazz-rock/fusion style of Cerebus Effect, there are some differences. Deluge Grander for example don´t flirt with progressive metal and as a result "August in the Urals" is a less hard edged release than Cerebus Effect´s sole studio album "Acts Of Deception" (2005). The highly eclectic and everchanging nature of the music are features the two artists share though. Deluge Grander however appear a little more in sync, and their material a bit more mature.

Although the music occasionally features vocals (they are featured quite prominently on the title track and on "Abandoned Mansion Afternoon"), it´s predominantly instrumental, busy, and quite challenging in nature. The balance is pretty equal between the progressive rock leanings and the jazz-rock/fusion elements and Deluge Grander master both with seamless ease. There is indeed som high level musicianship on display here. That´s also needed when you compose tracks as long as Deluge Grander do on "August in the Urals". Just remembering tracks featuring as many different parts as the 26:57 minutes long album opener "Inaugural Bash" or the follow-up 15:52 minutes long title track is quite impressive. Playing the many different parts and understanding and delivering the right dynamics are interesting features too.

"August in the Urals" features a well sounding production job, which is both organic and sharp when it needs to be. Upon conclusion "August in the Urals" is a strong debut release from Deluge Grander. I do feel the compositions are sometimes a bit fragmented and maybe features too many different songwriting ideas, but if you´re interested in progressive rock music which changes a lot and which is performed by a cast of incredibly skilled musicians, "August in the Urals" isn´t the worst pick. A 3.5 star (70%) rating is deserved.

The best of all - I have the impression, same like with "Birds and Buildings" that all of this is done with ease and passion without struggling and going through the motions. All tracks are great and have something memorable. Highly recommended!

As usual, a unique and incomparable experience. An album that would have deserved a very rewarding note. Unfortunately, I consider the persistence of the cleverly rotten mixing and production to be an insult to my ears! As if we have salad in our ears...

This being said, let's talk about the substance. Because this one is worthy of interest. Compared to "August in the Ural", "The Form of the Good" marks a turning point for the group. The compositions are homogeneous, instrumental and complex (limit free). The inspiration is closer to neo-classical rather than rock. The composition abandons the bass and the drums to rely on a rich classical instrumentation (brass, woodwinds and strings). My favorite tracks: Common Era Caveman and Aggrandizement.

An album that may be good, but difficult to judge because listening is so unpleasant. Will there one day be remixes offering a production worthy of the name? We can dream.

I'm not asking this artist to do something Steven Wilson-style fluff, but hey: there is room! I am disappointed, disappointed, disappointed ...

The album opens with a real bash. Absolutely necessary to enter the musical world of Dan Britton! From the start, he offers us music shrouded in mystery, romantic and dense. The compositions are rich and loaded (like Relayer of Yes), the vocals are bizarre and distant, the chords are powerful. But what I appreciate the most are the numerous and perfect transitions, and the crescendo climbs. Simply magical, I get goosebumps every time I listen to it. The musicians are talented. Britton excels as much on keyboards (especially on piano) but also on guitar, as in the title piece. The bass / drum rhythm section is very energetic (what a bass solo in Inaugural Bash! Worthy of the great Chris Squire). And the finale of August In The Oural? Grandiose! I love this taste of coming back to it that makes me listen again, and listen again. Like a drug.

Strangely, I find that this first album is the best mixed of all of Dan's production (Deluge Grander + B&B). Symphonic prog? Hmm, I would have said rather an eclectic prog, sometimes flourishing with the Zeuhl movement. In any case, this kind of music is reserved for listeners who wish to listen attentively to the musicians, and who pay particular attention to complicated compositions. Something without concession. It wouldn't occur to me to try to listen to this record while reading a book, impossible!

August In The Ural is a remedy for boredom and a masterpiece of progressive rock music.